THE BEACH BOYS 1964
KEEP AN EYE ON SUMMER - the latest Beach Boys copyright extension release
1963 had been an incredible year for The Beach Boys and for Brian Wilson, as the group enjoyed success after success on the road and on the charts. That year they had an amazing string of hit singles and albums, from Surfin’ USA to Surfer Girl and Little Deuce Coupe, and Brian Wilson suddenly found himself at the center of the pop music industry in Los Angeles. With Al Jardine taking his place on the road for several Beach Boys tours that year, Brian was able to stay home in LA and immerse himself in music, mastering the techniques of studio recording, taking over the production of the Beach Boys’ records from Nik Venet, the Capitol staff producer who had overseen their first two albums for the label, and he was also branching out as a writer, producer and arranger for several other artists, even co-writing a number one hit, “Surf City,” for friends Jan Berry and Dean Torrence. There seemed to be no stopping Brian.
In many ways, 1964 would prove to be a pinnacle for Brian and the Beach Boys. For while Brian’s musical ambitions outside of the group were dashed somewhat by David Marks’ departure from the band in late 1963 after a dispute with the Wilsons’ father (and then group manager) Murry Wilson – effectively forcing Brian back on the road for any and all Beach Boys gigs that year and limiting his ability to focus on outside productions – the Beach Boys themselves soared higher and higher, maintaining and strengthening their position as the top pop music brand in the US even in the wake of the frenzy of Beatlemania that hit the world early in the year. In 1964 alone, the Beach Boys came up with many of their biggest, most lasting hits, creating records like “Fun Fun Fun,” Don’t Worry, Baby,” “I Get Around,” “Dance Dance Dance,” “All Summer Long,” “Wendy,” and other classics that have long since become part of our cultural DNA. Just try to find someone who hasn’t lived in a cave for the last 50 years who can’t sing the chorus hook of “I Get Around.”
One of the more remarkable things about the Beach Boys’ astounding string of hit singles and albums in 1964 is that, for the most part, the Beach Boys truly were a self-contained musical powerhouse. For many years a myth has grown up about the group in that era, to the effect that the Beach Boys only sang on their records while the backing tracks were played by the highly skilled studio musicians, often referred to collectively as “The Wrecking Crew,” who were then laying down the backing tracks for so many of the hit records by Phil Spector, Jan and Dean and others in the LA music scene. While it’s true that Brian worked extensively with these talented players starting in 1963, for the most part those 1963 sessions (and a few in early 1964) on which he used the Wrecking Crew players were for artists other than the Beach Boys, most notably the Honeys, friend Bob Norberg, and Sharon Marie. When it came to the Beach Boys, however, in those first few years of the group’s career it was the group members themselves playing the bulk of the instrumental tracks on their own records, albeit often augmented by members of the Wrecking Crew. While Brian followed his idol Phil Spector’s lead and was recording many of his extracurricular productions at the same studio that Phil favored, Gold Star, by early 1963 the Beach Boys had found their own home base at Western Recorders in Hollywood (Jan Berry’s favorite facility), working with engineer Chuck Britz in the cozy confines of Studio 3 under the watchful eye of Dad/Manager Murry Wilson, a professional relationship apparently loaded with personal baggage that would not survive long into the new year.
In many ways,1964 may have been the Beach Boys’ sunniest year. Brian, Mike, Carl, Dennis and Al toured the world, released four best selling albums, and even managed their first number one hit, “I Get Around,” at a time when Beatlemania was ruling the charts and the airwaves. The Brian Wilson-Mike Love songwriting partnership was at its peak, and it seemed the Beach Boys could do no wrong. Despite the intense pressures of stardom and success, the drama, heartbreak and internal strife that was to plague the group in later years had yet to fully engulf them, and it wasn’t until the very end of 1964 that Brian finally cracked under the strain, suffering a breakdown while the group was on a short Christmas tour.
This new collection, made possible by the fact that the Beach Boys, starting in 1964, made a point of holding onto their work reels (and greatly enhanced by the recent recovery of some long lost tapes from the Shut Down Vol. 2 album sessions) shows the Beach Boys at their zenith, offering glimpses of the camaraderie, optimism and high spirits behind the creation of these timeless records, and highlighting the incredible vocal arrangements, compositional skills, and rapidly evolving production techniques that placed the Beach Boys and Brian Wilson at the forefront of pop music in 1964 and for all time. Back in 1964 when these records were first burning up the charts, the Powers That Be in the record business – and possibly the Beach Boys themselves – regarded them as disposable “product,” likely as durable as so many candy bars. 50 years later, these songs are still being sold, performed, celebrated, analyzed, dissected, and played over and over again.
Alan Boyd, November 2014
Documentary filmmaker and archivist Alan Boyd has directed and edited several films for The Beach Boys, including Nashville Sounds, Brian Wilson 1999 (a short film that opened Brian’s first solo tour) and the Grammy-nominated Endless Harmony documentary. With Mark Linett, Alan has also produced several archival CD releases for The Beach Boys and Capitol Records, and won a Grammy for his work on the 2011 release “The Smile Sessions.”
1964 was a truly amazing year for the Beach Boys, with a number one hit “I Get Around” coming smack in the midst of Beatlemania. I was twelve when I bought that 45, heck, I bought all their 45’s and played them right alongside all those British invasion records that kept spilling out of my AM radio.
On this set we’ve presented highlights from many of the group’s sessions during 1964, mostly previously unreleased (even on those “unofficial” discs often found at record shows). As someone who has been listening to, archiving and mixing the group’s recordings for nearly thirty years, it was exciting for me to hear these newly discovered sessions for the first time. They fully demonstrate that the Beach Boys were great musicians as well as singers and that, contrary to popular opinion, they played on most of their records, with the occasional addition of members of the “wrecking crew.”
As with previous collections, I hope these tracks shed some light on how the records were made, and what the technical limits of the recording studio in 1964 were. Remember, the basic tracks were recorded live to mono using just 12 microphones on average, and everyone had to play their part without making any mistakes or the entire track would have to be redone. In a similar fashion, the background vocals were recorded with everyone singing together, and sometimes Carl would even be adding an additional guitar solo or rhythm part at the same time.
To put it simply, there was no hiding behind the sort of technology we have today that allows every aspect of a recording to be analyzed, tuned, re-timed and replaced. While this makes it easy to make “perfect” recordings, in my opinion it also tends to remove the excitement.
I hope you’ll enjoy this collection, and that we can present more of this sort of material in the future.
Mark Linett
Glendale, CA, 2014
Grammy-award-winning engineer and producer Mark Linett has for over twenty five years produced and engineered the Beach Boys catalog, including the landmark Made In California, Smile Sessions, Pet Sound Sessions and Good Vibrations box sets. He has also engineered albums for a wide range of artists including Randy Newman, Laura Nyro, Rickie Lee Jones, Eric Clapton, Red Hot Chili Peppers, Jane’s Addiction and Los Lobos. His most recent Grammy award was for “The Beach Boys Smile Sessions”
THE BEACH BOYS 1964
KEEP AN EYE ON SUMMER
Track by Track Notes by Alan Boyd & Mark Linett
1. Fun Fun Fun (Session Highlights and Stereo Mix) (7:39)
(Brian Wilson-Mike Love)
The Beach Boys wasted no time in 1964, going into the studio on New Years Day to cut the track for what would become one of their most iconic songs and biggest hits, “Fun Fun Fun.” Deceptively simple sounding, this song turned out to be one of the most elaborate Beach Boys productions to date, with Brian calling on a few of the best of the Wrecking Crew personnel to bolster the group’s sound for what was to be their first single release of the year, something he had done previously when he produced the single version of “Be True To Your School” a couple of months earlier. Dad/manager Murry Wilson is on hand at the start of the basic tracking, offering a hint of the familial tension that would ultimately see him banished from the studio later in the year. Note that both Dennis and Hal Blaine are playing drums on the first take. Perhaps Brian wanted to emulate the productions of his friend Jan Berry, who always used two drummers playing in unison on Jan & Dean records? In any event, Hal points out that the track will “sound like mud” if they both play drums and suggests that they overdub the 2nd drum part. So on the first track of the master take it’s Dennis playing drums and Hal on tambourine. Two overdub tracks were added to the master take, with Hal presumably playing the tom fills. Note also how Brian has the horns playing large block chords that are almost invisible in the released mono mix but which still lend a lot of weight to the track.
2. Fun Fun Fun (A Capella) (2:23)
The vocals for “Fun Fun Fun” were re-recorded several times before the lyrics were finalized, earlier takes having the “now that daddy took the t-bird away” lyric much earlier in the song. By the way, Carl’s double of the opening solo, as well as the middle one were recorded as the final vocals were being tracked.
3. Fun, Fun, Fun (2013 Stereo Mix) (2:14)
This new mix, with the multilayered backing track in true stereo as well as the vocals, first appeared on 2013′s Made In California box set.
4. Why Do Fools Fall In Love (Session Highlights and Stereo Mix) (4:59)
(Frankie Lymon-Morris Levy)
Brian was in awe of producer Phil Spector, especially after the August 1963 release of the Ronettes’ “Be My Baby,” and after that Brian frequently recorded at Goldstar, Phil’s favorite studio, when he wanted to use the Wrecking Crew to get the same sort of “Wall of Sound” that his musical idol achieved. In January 1964 Brian attempted his own approximation of the “Wall of Sound” production style on this elaborate cover of the Frankie Lymon hit from 1956. The early take of “Fools” is even more Spectoresque than the master track which has added overdubs. The unused intro section was unheard and unknown until the original session reel was unearthed just prior to the release of the 2009 compilation Summer Love Songs. Session chatter reveals that Brian intended to have vocals on the intro, but they were never recorded.
5. Why Do Fools Fall In Love (New Stereo Mix) (2:09)
This true stereo mix of “Why Do Fools Fall In Love,” incorporating elements from the first, second and third generation 3 track masters, was newly prepared for this release.
6. Don’t Worry Baby (Session Highlights and Instrumental Mix with Backing Vocals) (4:42)
(Brian Wilson-Roger Christian)
Despite what many rock historians and writers have suggested over the years, the instrumental track for this enduring classic features just the Beach Boys themselves: Brian on piano, Al on bass, Carl on guitar and Dennis on drums. Like many songs from this period, the background vocals were recorded and doubled first before Brian sang the lead, and here we present a new stereo mix featuring the master instrumental take plus the two background vocal tracks.
7. Don’t Worry, Baby (2009 Stereo Mix) (2:50)
As was the case with a number of recordings from this era, notably “Keep An Eye On Summer,” “Warmth of the Sun,” and “Hushabye,” the final three track master of “Don’t Worry Baby” had the instrumental track on one channel, doubled lead vocals on another channel, and doubled backing vocals on the remaining one. Back in those days there was no panning function available during mixdowns, and the three tracks were designated as “Left-Center-Right” on the surviving original studio documentation. This could result in some awkward vintage stereo mixes, with the lead and backing vocals split hard left and right. This recent true stereo mix of “Don’t Worry Baby,” combining elements from the first, second and third generation session tapes, first appeared on the 2009 compilation Summer Love Songs.
8. In The Parkin’ Lot (Session Highlight and A Capella Mix) (4:38)
(Brian Wilson-Roger Christian)
A great, albeit lesser known track from the Shut Down Vol. 2 LP, “In The Parkin’ Lot” features some incredible group vocals throughout, and showcases a structural compositional technique – a slower, seemingly unrelated “intro” section leading into a more upbeat main section – that Brian would later utilize to great effect in “California Girls,” “The Little Girl I Once Knew,” and “Wouldn’t It Be Nice” (and which he apparently had in mind for “Why Do Fools Fall In Love” above). Notice how the first take breaks down when Carl makes a mistake in his solo, which he was playing live while the vocals were being recorded.
9. Warmth of the Sun (Session Highlights and Instrumental Mix with Backing Vocals) (5:09)
(Brian Wilson-Mike Love)
One of the Beach Boys’ most heartfelt and enduring classics, “The Warmth of the Sun” features Hal Blaine on percussion, and this session marks the last time we hear from Murry Wilson on the group’s 1964 tapes. Brian had completely taken over as the Beach Boys’ producer by this point, and its not clear if Murry even stayed for the entire session. A new stereo mix of the master instrumental track and doubled background vocals round out this cut.
10. Warmth of the Sun (2012 Stereo Mix) (3:03)
This true stereo mix, again incorporating elements from first, second and third generation three track masters, first appeared on the Made in California box set.
11. Pom Pom Play Girl (Session Highlights and Instrumental Mix with Backing Vocals) (4:54)
(Brian Wilson-Gary Usher)
Here’s a track that absolutely refutes the notion that the Beach Boys didn’t or couldn’t play on their records. This complex track is played entirely by Brian, Carl, Dennis and Al, with Mike blowing a mean sax. The song itself, a collaboration with DJ (and hot rod enthusiast) Roger Christian offers a nifty, albeit snarky, little commentary on the high school social scene. Note that the background vocal parts seem to feature a refrain along the lines of “kid you not,” but with a somewhat more colloquial bent.
12. Pom Pom Play Girl (New Stereo Mix) (1:33)
This stereo mix was newly prepared for this compilation.
13. Denny’s Drums (Session Highlight and Alternate Take) (3:23)
(Dennis Wilson)
This recently recovered session tape excerpt boasts an alternate take of “Denny’s Drums” with Carl and Al adding guitar and bass. This idea seems to have been abandoned quickly as it’s the only take they play on. Listening to Brian on the talkback, it’s apparent that this was at the end of a very, very long day in the studio for the group as they labored to finish their new album and get it delivered to Capitol in time for a concert tour.
14. Keep An Eye On Summer (Instrumental Mix with Backing Vocals) (2:28)
(Brian Wilson-Bob Norman-Mike Love)
This lesser-known ballad, penned by Brian, his friend Bob Norberg and Mike Love, is featured here in a new mono mix from the final three track master, featuring just the instrumental track and background vocals.
15. Endless Sleep (Larry Denton Vocal) (2:32)
(Jody Reynolds-Dolores Nance)
Back at Goldstar on February 8, 1964, Brian and the Wrecking Crew recorded this cover of a rather dark 1958 rockabilly hit by Jody Reynolds. This arrangement, strikingly modern, and with an organ part that sounds eerily like the mellotron from the Rolling Stones’ 1967 cut “2,000 Light Years From Home,” features Larry Denton on lead vocals. It has remained unreleased until now.
16. I Get Around (Session Highlight and Instrumental Mix with Backing Vocals) (5:34)
(Brian Wilson-Mike Love)
This was the Beach Boys’ first chart topping single, an amazing monster hit in the midst of the cultural onslaught of Beatlemania, and it remains one of the group’s signature classics. Brian held another monumental session for this song, bringing in select members of the Wrecking Crew to fatten the sound on the final master, which features Dennis on drums, Hal Blaine on percussion, Carl on guitar, Brian on piano, organ and harpsichord, with Al on Fender bass and Ray Pohlman and Glen Campbell on 6 string bass, plus two sax players. Note Brian experimenting with what would become the harpsichord overdub on the final master, and also how the backing track demonstrates how Brian’s vocal arrangements – nearly A capella in spots on this one – was such an important part of the Beach Boys’ sound.
17. I Get Around (A Capella) (2:16)
An A capella mix spotlighting one of the two layers of vocals heard on the final mono master of “I Get Around.” Sadly, a final three track master of this song with the original doubled vocals no longer exists. Interestingly, when the group included this song on their Beach Boys Concert LP later in the year, the group rejected the actual live takes they had recorded and used the studio version instead, in a new mix utilizing this one layer of vocals and with audience screams and applause added to the final version.
18. All Summer Long (Session Highlights and Stereo Mix) (4:46)
(Brian Wilson-Mike Love)
Another Beach Boys’ signature classic, later immortalized as the closing song in George Lucas’ “American Graffiti,” this title tune from the group’s second album release of the year took 43 attempts to get a solid master take, mainly owing to Brian’s difficulty in nailing the introductory xylophone part. These session excerpts provide a glimpse of his frustration, but the final master backing track, with an overdub track, clearly demonstrates that it was well worth the effort.
19. All Summer Long (A Capella) (2:19)
“All Summer Long” also features one of the group’s fullest and most imaginative vocal arrangements, presented here in a new A capella mix.
20. All Summer Long (2007 Stereo Mix) (2:09)
This true stereo mix of the song, which originally had only been available in mono and “Duophonic” versions, first appeared on the 2007 release Warmth of the Sun.
21. Hushabye (Instrumental Mix with Backing Vocals) (2:42)
(Doc Pomus-Mort Shuman)
This new track plus backing vocals mix of the Beach Boys’ cover of the 1959 doo wop hit by Doc Pomus and Mort Shuman provides yet another great display of the depth and complexity of the group’s background vocals.
22. Girls On The Beach (Alternate Vocal Session Highlights and Master A Capella Mix) (5:27)
(Brian Wilson-Mike Love)
In May of 1964 the Beach Boys apparently went back into the studio to record a new set of vocals, with an entirely new vocal arrangement, for this song, which was featured as the title track for Paramount Pictures’ answer to the phenomenal success of American International’s “Beach Party” movie franchise. The Beach Boys themselves appeared in the movie and are seen performing the end of the tune, which is featured over the opening credits. Not much is known about this alternate session, however, and existing documentation doesn’t quite confirm whether this attempt was made before or after the movie version, which was also included on the All Summer Long LP, had been completed. Based on reports that the group’s appearance was likely filmed at least a month before this session – plus the fact that Mike and the other Beach Boys seem to be spoofing the other version in spots here – could indicate that this was an attempt to create a new version. In any case, one thing is for certain – the group wasn’t taking this at all seriously, and they never managed to get to a completed master take. This version was constructed from several unfinished, incomplete attempts.
Interestingly, The Beach Boys also prepared an unused alternate version of the song “Little Honda,” which also was featured in the “Girls On The Beach” film. See #28 below.
23. Wendy (Vocal Session Highlights and A Capella Mix) (4:40)
(Brian Wilson-Mike Love)
Vocal session highlights and an A capella mix of the song “Wendy.”
24. Don’t Back Down (Alternate Version Session Highlight and New Stereo Mix) (2:04)
(Brian Wilson-Mike Love)
The Beach Boys recorded two completely different versions of the song “Don’t Back Down” utilizing the same backing track, and interestingly enough, both versions are found on the same session tape, but only one was released in 1964. This is a new stereo mix of the alternate version of the song.
25. Little Saint Nick (Drive In) (Vocal Session Highlights and New Stereo Mix) (3:21)
(Brian Wilson-Mike Love)
The Ronettes, who recorded Brian’s all-time favorite Phil Spector song, “Be My Baby,” were visiting the studio when the Beach Boys recorded vocals for this alternate version of “Little St Nick” using a backing track that had been recorded at a Honeys session in late 1963 but eventually found a home as the foundation for the song “Drive In” on the All Summer Long LP. Notice Brian doing an imitation of Phil Spector before the final take, presented here in a new true stereo mix.
26. Untitled Jam/Let’s Live Before We Die (Session Highlights and Instrumental) (3:24)
(Brian Wilson)
A short impromptu jam precedes the track for an unfinished and unreleased song called “Let’s Live Before We Die.” This very pretty track, boasting some very lush jazz styled chords, was recorded at the same session as “We’ll Run Away.”
27. Little Honda (Alternate Version Session Highlight and New Stereo Mix) (2:46)
(Brian Wilson-Mike Love)
Vocal session chatter and a new stereo mix of the alternate version of “Little Honda,” another song that was featured in the Paramount Pictures release “Girls On The Beach.” Recorded after the now-familiar version had been completed, this features an entirely different backing vocal arrangement and slightly revised lyrics.
28. Little Honda (Unreleased Single Mix) (1:52)
The Beach Boys considered releasing “Little Honda” as a single, and they actually delivered this revised mono master to Capitol Records, where it languished in the vaults for decades before it was discovered a few years ago. This unreleased single mix features an extra organ overdub.
29. She Knows Me Too Well (Vocal Session Highlight and Track with Backing Vocals) (2:43)
(Brian Wilson-Mike Love)
Recorded in the early summer of 1964, and first appearing as the b side to “When I Grow Up (To Be A Man),” in August of that year, this introspective ballad is now regarded as one of the highlights of the group’s 1965 album, The Beach Boys Today. This new mix highlights the backing track and the song’s intricate backing vocals. By the way, that’s noted producer Russ Titelman providing the track’s signature percussive effect by hitting a microphone stand with a screwdriver.
30. She Knows Me Too Well (A Capella) (2:46)
This is a new A capella mix of “She Knows Me Too Well,” spotlighting Brian’s plaintive lead vocal.
31. Don’t Hurt My Little Sister (Session Highlight and A Capella Mix) (2:36)
(Brian Wilson-Mike Love)
Recorded in June of 1964 shortly after “She Knows Me Too Well,” this upbeat song lingered in the vaults for awhile before it was finally included on The Beach Boys Today in early 1965. This is a new A capella mix from the final three track master.
32. Christmas Eve (Instrumental Mix) (3:09)
(Writer Unknown)
33. Jingle Bells (Instrumental Mix) (2:33)
(James Lord Pierpont)
These two songs were recorded during the July 1964 sessions for the Beach Boys Christmas Album, released by Capitol in November of that year. Like many of the songs on that LP, this features the string and horn arrangements of Dick Reynolds, a longtime industry pro who had been the primary arranger for Capitol artists The Four Freshmen, whose signature close harmonies had such a profound and lasting influence on Brian. Little is known about these tracks. They might have been intended for Beach Boys’ vocals, but on the other hand they do feature solo improvisational jazz piano parts, recorded on their own channels on the three track session reels, and might have been conceived as easy listening holiday instrumentals, as most of the Beach Boys’ previous albums (with the exception of Little Deuce Coupe) had included instrumental tracks. This compilation marks the first official release of these long lost Christmas recordings.
34. When I Grow Up (A Capella) (2:11)
(Brian Wilson-Mike Love)
“When I Grow Up (To Be A Man)” was a late summer hit single for the Beach Boys in 1964, upbeat and catchy but with an introspective slant to the lyrics that hints at the thematic direction that Brian would follow on “Pet Sounds” a couple of years later. This is a new A capella mix from the final three track master.
35. Fun Fun Fun (Live) (2:17)
(Brian Wilson-Mike Love)
36. I Get Around (Live) (2:16)
(Brian Wilson-Mike Love)
After listening to the three track remote tapes from their August 1964 Sacramento concerts, the group apparently felt that the live takes of “Fun Fun Fun” and “I Get Around” weren’t up to par, so they recorded new “live” versions at Western Recorders during sweetening sessions for the Beach Boys Concert LP. Ultimately these takes were also consigned to the vaults, and instead the released sngle versions, with just a single layer of vocals and minus some of the instrumental overdubs, were combined with audio loops of the screaming audience from the actual concert for release on the live album. These live-in studio performances have remained unreleased until now.
37. I’m So Young (Alternate Version Session Highlight and New Stereo Mix) (4:02)
(William H “Prez” Tyus, Jr)
The Beach Boys made two separate attempts at a cover of the doo-wop classic “I’m So Young” before including the second version on their Beach Boys Today LP in 1965. This cut features session excerpts and a new stereo mix of the first version, which the group recorded in the fall of 1964.
38. All Dressed Up For School (Session Highlights and New Stereo Mix) (3:47)
(Brian Wilson)
“All Dressed Up For School,” which the group recorded in September 1964, was passed over at the time and remained unreleased until its first appearance as a bonus track on a CD reissue of The Beach Boys Today in 1990. The song, which features an early lead vocal from Carl Wilson, contains musical elements that later found their way into some subsequent Beach Boys recordings, the verse melody becoming the foundation for the verses of the 1969 track “I Just Got My Pay,” and a descending/ascending progression which would later show up in one of the unused sections from “Heroes and Villains,” and again in 1980 in the song “Goin’ On.” This track includes excerpts from the original vocal overdub session and a new stereo mix from the three track master.
39. Dance Dance Dance (Alternate Version New Stereo Mix) (2:05)
(Brian Wilson-Carl Wilson-Mike Love)
This early attempt at “Dance Dance Dance” was recorded by the Beach Boys at CBS Studios in Nashville while they were on tour in September 1964. This is a new stereo mix from the original session master reel.
40. Dance Dance Dance (Session Highlights and Instrumental Mix) (4:44)
The Beach Boys scored another massive hit with their penultimate single release of 1964, an upbeat rocker featuring an infectious lead guitar hook by Carl Wilson. This session excerpt reveals Glen Campbell playing acoustic guitar alongside Carl’s lead line.
41. Dance Dance Dance (A Capella) (2:06)
42. I Get Around (Live BBC 1964) (2:02)
(Brian Wilson-Mike Love)
43. The Little Old Lady From Pasadena (Live BBC 1964) (3:07)
(Jan Berry-Roger Christian-Don Altfeld)
44. Graduation Day (Live BBC 1964) (2:14)
(Joe Sherman-Noel Sherman)
45. Surfin’ USA (Live BBC 1964) (2:24)
(Chuck Berry)
In November of 1964 The Beach Boys toured Europe and made several high profile media appearances in England, including a special appearance on BBC Radio. These recordings were made for the BBC and were broadcast in 1964 and again in 1967. These cuts, along with the other three BBC recordings that were included on the Made In California box set in 2013, were presumed lost until a vintage aircheck surfaced, recorded by a British fan back in 1967.
46. Johnny B Goode (Live Single Mix) (1:52)
(Chuck Berry)
And for an encore – unused, unheard and unreleased until now, and only recently unearthed during a vault search at Capitol Records, this is a vintage 1964 mono single mix of “Johnny B. Goode” from the Beach Boys Concert project that may have been intended as a potential b side for “When I Grow Up (To Be A Man”).
THE BEACH BOYS 1964
KEEP AN EYE ON SUMMER
Sessionography
Researched and Compiled by [the inestimably brilliant] Craig Slowinski
Starting with 2011′s release of The SMiLE Sessions deluxe box set (Grammy winner for Best Archival Release), I’ve had the honor and privilege of compiling sessionographies for new Beach Boys “from the vaults” projects, including this one and 2013′s career-spanning box set Made In California (coming soon in online and expanded book editions). Through painstaking research, including examination of the surviving session tapes, studio track sheets, musician union contracts and record company files, Mark, Alan and I believe we’ve come up with as accurate a presentation as possible, including who played, sang and engineered on these historic tracks, along with when and where they were recorded and even which format of tape was used on the original sessions.
Sometimes, when chronicling events that took place a half a century ago, it’s impossible to know everything for certain – and sometimes we have difficulty reaching a consensus among the three of us when it comes to the minute details behind the creation of these tracks – but our hope is that the casual listener and the obsessive fan alike will learn something new from our efforts. Above all, we hope you will enjoy reading this sessionography as you enjoy listening to the great music it represents.
Craig Slowinski, November 2014
FUN, FUN, FUN
Arranged: Brian Wilson, with Carl Wilson / Vocals arranged by Brian Wilson with Mike Love
Lead & Bass vocal: Mike Love
Harmony & Backing vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine
Electric lead guitar: Carl Wilson
Electric lead/rhythm guitars: Carl Wilson
Electric rhythm guitars: Carl Wilson
6-string electric bass guitar: Ray Pohlman
Electric bass guitar: Al Jardine
Upright or Grand piano: Brian Wilson
Hammond B-3 organ: Brian Wilson
Drums: Dennis Wilson / Hal Blaine / Dennis Wilson
Tambourine: Hal Blaine
Tenor saxophones: Steve Douglas
Baritone saxophones: Jay Migliori
Basic track & overdub recorded at Western Recorders Studio 3, Hollywood, Wednesday January 1, 1964, 12:30pm-4:45pm (master is Take 3)
Vocals & additional overdubs recorded at Western Recorders Studio 3, Hollywood, Wednesday January 8 or Thursday January 9, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for vocals and guitar intro & solo, followed by tape-to-tape transfer to third-generation 1/2″ 3-track tape with simultaneous overdub
WHY DO FOOLS FALL IN LOVE
Arranged: Brian Wilson
Lead vocal: Brian Wilson
Intro bass vocal: Mike Love
Backing & Harmony vocals: Brian Wilson, Dennis Wilson, Al Jardine, Carl Wilson, Mike Love
Intro -
Upright piano: Brian Wilson and/or Leon Russell
Archtop acoustic rhythm guitar: Bill Pitman
Electric rhythm guitar: Tommy Tedesco
Electric bass guitar: Ray Pohlman
Upright bass: Jimmy Bond
Drums & Tympani: Hal Blaine
Glockenspiel: Frank Capp
Main body -
Archtop acoustic rhythm guitar: Bill Pitman
Electric rhythm guitar: Tommy Tedesco
Electric bass guitar: Ray Pohlman
Upright bass: Jimmy Bond
Tack piano: Leon Russell
Grand piano: Al de Lory
Drums: Hal Blaine
Temple block & Castanet (w/stick): Frank Capp
Tenor saxophones: Steve Douglas and Plas Johnson
Baritone saxophone: Jay Migliori
Finger snaps: Brian Wilson
Hand claps: the Boys, Chuck Girard
Basic track, intro bass vocal & overdub recorded at Gold Star Recorders Studio A, Hollywood, Tuesday January 7, 1964, 8:00pm-11:00pm (master is edit of
Take 19 & intro Take 5)
Vocals recorded at Gold Star Recorders Studio A, Hollywood, Thursday January 9 or Friday January 10, 1964
Engineer: Larry Levine
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for vocals, followed by tape-to-tape transfer to third-generation 1/2″ 3-track tape with simultaneous vocal double?
DON’T WORRY BABY
Arranged: Brian Wilson
Lead vocal: Brian Wilson
Backing vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine, Mike Love
Electric lead guitar: Carl Wilson
Electric rhythm guitar: Carl Wilson
Electric bass guitar: Al Jardine
Upright or Grand piano: Brian Wilson
Drums: Dennis Wilson
Basic track recorded at Western Recorders Studio 3, Hollywood, Tuesday January 7, 1964, first session of the day (master is Take 12)
Vocals & guitar overdub recorded at Western Recorders Studio 3, Hollywood, Wednesday January 8 or Thursday January 9, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for lead vocal & guitar overdub
IN THE PARKIN’ LOT
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Backing and Harmony vocals: Brian Wilson, Dennis Wilson, Al Jardine, Carl Wilson
Electric lead guitar: Carl Wilson
Electric rhythm guitars: Carl Wilson
Electric bass guitars: Al Jardine
Upright or Grand pianos: Brian Wilson
Drums: Dennis Wilson
Basic track, overdub & vocals recorded at Western Recorders Studio 3, Hollywood, Tuesday January 7, 1964 (master is Take 4)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for vocal double
Chuck slates the master take as “Take 3″, but on the track sheet “Take 4″ is notated as the master. The rhythm track is doubled on an overdub; Carl added the lead guitar solo during the second set of vocals, then redid it as a punch-in.
THE WARMTH OF THE SUN
Arranged: Brian Wilson
Lead vocal: Brian Wilson
Backing vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine, Mike Love
Electric lead guitars (w/tremolo): Carl Wilson (arpeggios)
Electric rhythm guitar: Al Jardine
Electric bass guitar: Ray Pohlman
Upright or Grand piano: Brian Wilson
Drums: Dennis Wilson
Bell-tree & Clinking percussion: Hal Blaine
Tenor saxophone: Steve Douglas
Baritone saxophone: Jay Migliori
Basic track recorded at Western Recorders Studio 3, Hollywood, Wednesday January 1, 1964, 12:30pm-4:45pm (master is Take 4)
Vocals & overdub recorded at Western Recorders Studio 3, Hollywood, Wednesday January 8 or Thursday January 9, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for lead vocal, followed by tape-to-tape transfer to third-generation 1/2″ 3-track tape with simultaneous lead vocal double (the lead guitar was doubled on one of the lead vocal tracks)
POM POM PLAY GIRL
Arranged: Brian Wilson
Lead vocal: Carl Wilson
Cameo bass vocal: Mike Love
Backing vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine, Mike Love
Electric lead guitar: Carl Wilson
Electric rhythm guitar: Carl Wilson
Electric bass guitar: Al Jardine
Upright or Grand piano: Brian Wilson
Drums: Dennis Wilson
Tenor saxophone: Mike Love
Floor tom: Dennis Wilson
Hand claps: the Boys
Recorded at Western Recorders Studio 3, Hollywood, Tuesday January 7, 1964 OR circa Wednesday February 19, 1964 (master is Take 19)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for lead vocal, followed by reduction-mix transfer to third-generation 1/2″ 3-track tape for lead vocal double w/floor tom & handclaps
Backing vocals and Mike’s cameo are on one track, while the lead guitar solo and lead vocal appear on another track, along with the floor tom and handclaps.
DENNY’S DRUMS (Alternate Take)
Arranged: Dennis Wilson, Carl Wilson, Al Jardine
Instrumental
Electric lead guitar (w/Leslie effect): Carl Wilson
Electric bass guitar: Al Jardine
Drums: Dennis Wilson
Basic track & overdub recorded at Western Recorders Studio 3, Hollywood, Tuesday January 7, 1964 (master is Take 10)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape
Dennis overdubbed a second set of drums. Brian produces from the control booth while Carl, Al and Dennis jam.
KEEP AN EYE ON SUMMER (Track with Backing Vocals)
Arranged: Brian Wilson
Harmony and Backing vocals: Brian Wilson, Dennis Wilson, Al Jardine, Carl Wilson, Mike Love
Electric rhythm guitars: Carl Wilson
Electric bass guitar: Al Jardine
Upright or Grand piano: Brian Wilson
Drums: Dennis Wilson
Basic track & overdub recorded at Western Recorders Studio 3, Hollywood, Monday January 20 and/or Sunday February 2, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape
Carl adds a second rhythm guitar part on one of Brian’s lead vocal tracks.
ENDLESS SLEEP (Unreleased Brian Wilson Production, lead vocal: Larry Denton)
Arranged: Brian Wilson
Lead vocal: Larry Denton
Backing vocals: Brian Wilson, Larry Denton ?
Archtop acoustic rhythm guitar: Bill Pitman
Electric rhythm guitar: Tommy Tedesco
Electric bass guitar: Ray Pohlman
Upright bass: Jimmy Bond
Grand piano: Al de Lory
Tack piano: Leon Russell
Drums & Clanking percussion: Hal Blaine
Tympani & Castanets: Frank Capp
Tenor saxophone: Steve Douglas
Baritone saxophone: Jay Migliori
Chamberlin (strings): Brian Wilson
Basic track recorded at Gold Star Studio A, Tuesday February 18, 1964, 2:00pm-5:00pm (master is Take 5)
Chamberlin and vocals added thereafter
Engineer: Larry Levine
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape (with simultaneous backing vocal double) for lead vocal, followed by tape-to-tape transfer to third-generation 1/2″ 3-track tape with simultaneous lead vocal double
The guitar and piano credits are speculative, based on who was at the session and what can be heard on the track.
I GET AROUND
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto lead vocal: Brian Wilson
Harmony & Backing vocals: Brian Wilson, Carl Wilson, Al Jardine, Dennis Wilson
Electric lead/rhythm guitars: Carl Wilson
Electric lead guitar: Carl Wilson
Electric bass guitar: Al Jardine
6-string electric bass guitars: Glen Campbell / Ray Pohlman
Upright or Grand piano: Brian Wilson
Harpsichord: Brian Wilson
Hammond B-3 organ: Brian Wilson
Drums: Dennis Wilson
Timbale w/brush, rim w/thin stick: Hal Blaine
Tenor saxophone: Steve Douglas ?
Baritone saxophone: Jay Migliori ?
Hand claps: the Boys ?
Basic track recorded at Western Recorders Studio 3, Hollywood, Thursday April 2, 1964 (master is Take 15)
Overdubs & vocals recorded at Western Recorders Studio 3, Hollywood, Friday April 10, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, likely followed by reduction-mix transfer to second-generation 1/2″ 3-track tape w/simultaneous doubling of vocals; final instrumental overdub added either as simultaneous overdub during reduction-mix transfer to third-generation 1/2″ 3-track tape, or simultaneously during mono mixdown
ALL SUMMER LONG
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Harmony & Backing vocals: Brian Wilson, Al Jardine, Carl Wilson, Dennis Wilson
Xylophones or Marimbas: Brian Wilson
Electric rhythm guitars: Carl Wilson
Electric bass guitars: Al Jardine
Drums: Dennis Wilson
Piccolo or Fife: Jay Migliori
Tenor saxophone: Steve Douglas
Basic track & overdub recorded at Western Recorders Studio 3, Hollywood, Wednesday May 6, 1964, 6:00pm-10:00pm (master is Take 43)
Vocals recorded at Western Recorders Studio 3, Hollywood, Thursday May 7, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape with simultaneous vocal double
HUSHABYE (Track and Backing Vocals)
Arranged: Brian Wilson
Backing vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Mike Love, Al Jardine
Upright or Grand piano: Brian Wilson
Electric rhythm guitar: Carl Wilson
Electric bass guitar: Al Jardine
6-string electric bass guitar: Glen Campbell or Ray Pohlman ?
Drums: Dennis Wilson
Track & vocals recorded at Western Recorders Studio 3, Hollywood, unknown date (possibly Wednesday April 29 or Thursday April 30, 1964)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape
GIRLS ON THE BEACH
Arranged: Brian Wilson
Group vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Mike Love, Al Jardine
Solo lead vocal: Dennis Wilson
Electric rhythm guitars: Carl Wilson
Electric bass guitar: Al Jardine
(6-string electric bass guitar: Ray Pohlman ?)
Upright or Grand piano: Brian Wilson
Drums w/brushes: Dennis Wilson
Percussion: Dennis Wilson
Basic track & overdub recorded at Western Recorders Studio 3, Hollywood, Friday April 10, 1964
Engineer: Chuck Britz
Vocals probably recorded at Western Recorders Studio 3, Hollywood, mid-April 1964
Engineer: Chuck Britz ?
Alternate vocals recorded at Capitol Records Studio, Hollywood, Tuesday May 19, 1964
Engineer: Bob (last name unknown)
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for vocals
WENDY
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto lead vocal: Brian Wilson
Harmony & Backing vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine
Electric lead guitars: Carl Wilson
Electric rhythm guitar: Al Jardine
Electric bass guitar: Al Jardine
Upright or Grand piano: Brian Wilson
Hammond B-3 organ: Brian Wilson
Drums: Dennis Wilson
Basic track, overdub & vocals recorded at Western Recorders Studio 3, Hollywood, late April and/or early May 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by tape-to-tape transfer to second-generation 1/2″ 3-track tape with simultaneous vocal double
DON’T BACK DOWN
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto lead vocal: Brian Wilson
Backing & Harmony vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine, Mike Love, with Marilyn Rovell, Diane Rovell, Ginger Blake (aka The Honeys)
Electric rhythm guitars: Carl Wilson
Electric bass guitars: Al Jardine
6-string electric bass guitar: Ray Pohlman
Upright, Tack or Grand piano: Brian Wilson
Hammond B-3 organ: Brian Wilson
Drums: Hal Blaine and Dennis Wilson
Basic track & overdub recorded at Western Recorders Studio 3, Hollywood, beginning Wednesday April 29, 1964, 10:30pm-1:30am ? (master is Take 3)
Vocals recorded later that day or on a subsequent date
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by tape-to-tape transfer to second-generation 1/2″ 3-track tape with simultaneous vocal double, followed by reduction-mix transfer to third-generation 1/2″ 3-track tape with simultaneous vocal triple
LITTLE SAINT NICK (DRIVE IN)
Arranged: Brian Wilson
Unison lead & solo lead vocals: Brian Wilson & Mike Love
Backing vocals: Brian Wilson, Al Jardine, Carl Wilson, Dennis Wilson, Mike Love
Drums: Hal Blaine
Tenor saxophone: Steve Douglas
Baritone saxophone: Jay Migliori
- Additional personnel info unavailable -
Track recorded at Radio Recorders, Hollywood, Friday October 18, 1963 (master is Take 2)
Engineer: C.L. or O.L. (full name unknown)
Vocals recorded at Western Recorders Studio 3, Hollywood, Sunday October 20, 1963
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for vocals, followed by reduction-mix transfer to third-generation 1/2″ 3-track tape for backing vocals ?
UNTITLED JAM / LET’S LIVE BEFORE WE DIE
Arranged: Brian Wilson
Upright or Grand piano: Brian Wilson
Electric rhythm guitar: Carl Wilson
Electric bass guitar: Ray Pohlman
Drums: Hal Blaine
Track recorded at Western Recorders Studio 3, Hollywood, Wednesday April 29 or Thursday April 30, 1964, 10:30pm-1:30am ? (master is Take 15 ?)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape
LITTLE HONDA
Arranged: Brian Wilson
Lead vocal: Mike Love
Backing vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine
Electric lead guitars: Carl Wilson
Electric rhythm guitars: Carl Wilson and Al Jardine
Electric bass guitars: Al Jardine
6-string electric bass guitars: Ray Pohlman
Upright or Grand piano: Brian Wilson
Hammond B-3 organs: Brian Wilson
Drums: Dennis Wilson
Opening voice: Dennis Wilson
Basic track, overdubs & vocals recorded at Western Recorders Studio 3, Hollywood, beginning Friday April 10, 1964. Alternate vocals recorded Tuesday June 23, 1964, alternate version mixed Saturday June 27, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for vocals, followed by reduction-mix transfer to third-generation 1/2″ 3-track tape with simultaneous vocal double
SHE KNOWS ME TOO WELL
Arranged: Brian Wilson
Lead vocal: Brian Wilson
Backing & Harmony vocals: Brian Wilson, Carl Wilson, Al Jardine, Dennis Wilson, Mike Love
Electric lead guitars: Carl Wilson
Electric rhythm guitar: Carl Wilson
Electric bass guitar: Al Jardine
Upright piano: Brian Wilson
Drums: Dennis Wilson
Microphone boom w/screwdriver: Russ Titelman
Basic track, overdub & vocals recorded at Western Recorders Studio 3, Hollywood, Monday June 8, 1964 (master is Take 16 of 17?)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape (with simultaneous overdub) for lead vocal, followed by tape-to-tape transfer to third-generation 1/2″ 3-track tape with simultaneous overdub
DON’T HURT MY LITTLE SISTER
Arranged: Brian Wilson / Vocals arranged by Brian Wilson with Mike Love
Lead vocals: Mike Love, Brian Wilson
Backing & Harmony vocals: Brian Wilson, Al Jardine, Dennis Wilson, Carl Wilson, Mike Love
Electric lead guitars: Carl Wilson
Electric rhythm guitar: Tommy Tedesco
Electric baritone rhythm guitar: Ray Pohlman
Electric bass guitar: Al Jardine
Grand piano: John Gray
Upright piano: Brian Wilson
Drums: Hal Blaine
Tambourine: Dennis Wilson
Basic track, overdub & vocals recorded at Western Recorders Studio 3, Hollywood, Monday June 22, 1964, 3:30pm-6:30pm (master is Take 18)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by tape-to-tape transfer to second-generation 1/2″ 3-track tape with simultaneous vocal double
CHRISTMAS EVE & JINGLE BELLS
Arranged: Dick Reynolds
Mallets: Lou Singer
Harp: Kathryn Julye
Flutes or Saxophones: Ted Nash, Justin Gordon, Ronnie Langinger
Oboe or Saxophone: Gene Cipriano
Violins: Arnold Belnick, Marvin Limonick, Gerald Vinci, Bernard Kundell, Victor Arno, Alfred Lustgarten, Darrel Terwilliger, Joseph Stephansky, Stanley Plummer, Erno Neufeld, Israel Baker, Seymour Kramer, and Lenoard Malarsky
Cello: Harold Schneier
Plus another twenty-one musicians, likely from among these players who attended the June 18 orchestral session for other Christmas Album selections:
Archtop electric/acoustic rhythm guitar: Al Viola
Upright bass: Cliff Hils
Grand piano: Jimmy Rowles
Drums: Jack Sparling
Flute or Saxophone: Eddie Rosa
Bass clarinet or Baritone saxophone: Chuck Gentry
French horns: William Hinshaw, Richard Perissi, and Arthur Briegleb
Trumpets: Henry Laubach, John Audino, Conrad Gozzo, and Raymond Triscari
Trombones: Harry Betts, Francis Howard, and George Roberts
Tuba: George “Red” Callender
Cellos: Edgar Lustgarten, Jesse Ehrlich, Nathan Gershman, Alfred Wohl, and Margaret Aue
Orchestra master: Benjamin Barrett
Orchestra conducted by: Dick Reynolds
Copyists: Mainerd Baker and George Yocum
Track recorded at United Studio A, Hollywood, Wednesday June 24, 1964, 8:00pm-11:00pm
Engineer: Bill Putnam
WHEN I GROW UP (TO BE A MAN) (A Capella)
Arranged: Brian Wilson
Lead vocals: Mike Love, Brian Wilson
Harmony & Backing vocals: Brian Wilson, Carl Wilson, Al Jardine, Dennis Wilson, Mike Love
Vocals recorded at Western Recorders Studio 3, Hollywood, Monday August 10, 1964, aprx. 11:00pm
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by tape-to-tape transfer to second generation 1/2″ 3-track tape with simultaneous vocal double
FUN, FUN, FUN (“LIVE” VERSION)
Arranged: Brian Wilson, with Carl Wilson / Vocals arranged by Brian Wilson with Mike Love
Lead & Bass vocal: Mike Love
Harmony & Backing vocals: Brian Wilson, Carl Wilson, Al Jardine
Electric lead/rhythm guitar: Carl Wilson
Electric rhythm guitar: Al Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis Wilson
Track & vocals recorded at Western Recorders Studio 3, Hollywood, Monday August 31, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape
I GET AROUND (“LIVE” VERSION)
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto lead vocal: Brian Wilson
Harmony & Backing vocals: Brian Wilson, Carl Wilson, Al Jardine
Electric lead/rhythm guitar: Carl Wilson
Electric rhythm guitar: Al Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis Wilson
Track & vocals recorded at Western Recorders Studio 3, Hollywood, Monday August 31, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape
I’M SO YOUNG (ALTERNATE VERSION)
Arranged: Brian Wilson
Lead vocal: Brian Wilson
Backing & Harmony vocals: Al JardineCarl Wilson, Dennis Wilson, Mike Love
12-string electric rhythm/lead guitar (w/tremolo): Carl Wilson
Electric bass guitar: Al Jardine
Upright piano: Brian Wilson
Drums: Maurice Miller
Flute: Jay Migliori
Basic track, overdub & vocals recorded at Western Recorders Studio 3, Hollywood, Wednesday September 9, 1964, 4:00pm-6:00pm (master is Take 12)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape
ALL DRESSED UP FOR SCHOOL
Arranged: Brian Wilson
Lead vocal: Carl Wilson
Harmony & Backing vocals: Brian Wilson, Al Jardine, Dennis Wilson, Mike Love
12-string electric lead guitar: Carl Wilson
Electric rhythm guitar: Carl Wilson
Electric bass guitar: Al Jardine
Upright basses (arco in intro & outro): Melvin Pollan, Jimmy Bond, and Lyle
Ritz
Upright or Grand piano: Brian Wilson
Drums: Dennis Wilson
Accordion: Carl Fortina
Tenor saxophone: Steve Douglas
Hand claps: the Boys
Basic track & overdub recorded at Western Recorders Studio 3, Hollywood, Wednesday September 16, 1964, 2:30pm-6:00pm (master is Take 14, slated as “Take 9″)
Vocals recorded thereafter
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by tape-to-tape transfer to second generation 1/2″ 3-track tape with simultaneous vocal double; hand claps added simultaneously during mono mixdown
DANCE, DANCE, DANCE (ALTERNATE VERSION)
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto vocal: Brian Wilson
Backing vocals: Brian Wilson, Dennis Wilson, Al Jardine, Carl Wilson
12-string electric lead/rhythm guitars: Carl Wilson
Electric rhythm guitar: Al Jardine
6-string electric bass guitar: Al Jardine ?
Electric bass guitar: Brian Wilson
Grand piano: Brian Wilson
Drums: Dennis Wilson
Tambourine: Dennis Wilson ?
Basic track, overdubs & vocals recorded Columbia Records Studio, Nashville, TN, Tuesday September 22, 1964 (6-hour session) (master is Take 2)
Engineers: Mort Thomasson and Charles Bradley
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape for overdubs, followed by reduction-mix transfer to third-generation 1/2″ 3-track tape for vocals and guitar solo, followed by reduction-mix transfer to fourth-generation 1/2″ 3-track tape for vocal double ?
DANCE, DANCE, DANCE
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto vocal: Brian Wilson
Backing vocals: Carl Wilson, Al Jardine, Dennis Wilson
12-string electric lead/rhythm guitar: Carl Wilson
Acoustic lead/rhythm guitar: Glen Campbell
Electric rhythm guitar: Al Jardine
Electric bass guitar: Brian Wilson
6-string electric bass guitar: Ray Pohlman
Accordion: Carl Fortina
Drums: Dennis Wilson
Triangle, Tambourine & Sleighbells: Hal Blaine
Sleighbells & Castanets: Hal Blaine
Tenor saxophone: Steve Douglas
Baritone saxophone: Jay Migliori
Basic track & overdub recorded at RCA-Victor Studio, Hollywood, Friday October 9, 1964, 2:00pm-5:30pm (master is Take 17)
Engineer: Dave Hassinger
Vocals recorded at Western Recorders Studio 3, Hollywood, later in October 1964 Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix transfer to second-generation 1/2″ 3-track tape (with simultaneous overdub) for overdubs & vocals, followed by tape-to-tape transfer to third-generation 1/2″ 3-track tape with simultaneous vocal double
I GET AROUND (LIVE – BBC)
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto lead vocal: Brian Wilson
Harmony & Backing vocals: Brian Wilson, Carl Wilson, Al Jardine
12-string electric lead/rhythm guitar: Carl Wilson
Electric rhythm guitar: Al Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis Wilson
Recorded live (plus vocal double) at the BBC Playhouse Theatre, London, England, Friday November 6, 1964
Recorded on 1/4″ mono tape
THE LITTLE OLD LADY FROM PASADENA (LIVE – BBC)
Arranged: Brian Wilson
Lead & Bass vocal: Mike Love
Harmony & Backing vocals: Brian Wilson, Carl Wilson, Al Jardine
12-string electric rhythm/lead guitar: Carl Wilson
Electric rhythm guitar: Al Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis Wilson
Recorded live (plus vocal double) at the BBC Playhouse Theatre, London, England, Friday November 6, 1964
Recorded on 1/4″ mono tape
GRADUATION DAY (LIVE – BBC)
Arranged: Brian Wilson
Group vocals: Brian Wilson, Al Jardine, Carl Wilson, Mike Love
Bridge solo vocal: Mike Love
Electric rhythm/lead guitar: Carl Wilson
Electric bass guitar: Brian Wilson
Drums: Dennis Wilson
Recorded live (plus vocal double) at the BBC Playhouse Theatre, London, England, Friday November 6, 1964
Recorded on 1/4″ mono tape
SURFIN’ U.S.A. (LIVE – BBC)
Arranged: Brian Wilson / Vocals arranged by Brian Wilson and Mike Love
Lead & Bass vocal: Mike Love
Backing & Harmony vocals: Brian Wilson, Carl Wilson, Al Jardine
12-string electric lead guitar: Carl Wilson
Electric rhythm guitar: Al Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis Wilson
Recorded live (plus vocal double) at the BBC Playhouse Theatre, London, England, Friday November 6, 1964
Recorded on 1/4″ mono tape
JOHNNY B. GOODE (UNRELEASED LIVE SINGLE MIX)
Arranged: Brian Wilson, with Carl Wilson
Unison lead vocals: Brian Wilson & Mike Love
Harmony vocals: Carl Wilson, Al Jardine
Electric lead/rhythm guitar: Carl Wilson
Electric rhythm guitar: Al Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis Wilson
Recorded live in concert at Sacramento Memorial Auditorium, Sacramento, Saturday December 21, 1963
Recorded on 1/2″ 3-track tape
Mixed to mono at Western Recorders, Hollywood, circa Monday August 10, 1964
Mixdown engineer: Chuck Britz
http://www.thebeachboys.com/#go_page_2600
Unfortunately, at the moment, both releases are only available on iTunes
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